CABARET Background and Analysis by Scott Miller The burgeoning political activism in the United States when Cabaret hit the stage in — and its growth by when the film hit theatres — as well as Hal Prince's desire to break through to a new kind of socially responsible musical theatre all conspired to make Cabaret one of the most fascinating stage pieces of the s and a show that speaks to our world in a new millennium more now than at any time since it first opened, as evidenced by the smash hit Broadway revival. Today, as activism at both ends of the political spectrum has experienced a renaissance in America, Cabaret as a cautionary morality play has tremendous resonance. Cabaret in its original form was a fascinating but flawed theatre piece. It was director Hal Prince's first experiment in making a concept musical a show in which the story is secondary to a central message or metaphora form he would perfect later on with projects like Company, Follies, Pacific Overtures, Kiss of the Spider Woman, and other musicals.
In reality, we see the use of interpretive techniques and principles every time we see an advertisement in a magazine or on television. Understanding the Audience One of the key areas of knowledge that interpreters must have to be effective in their presentations is an understanding of how visitors learn and remember information in a recreational learning environment.
A recreational learning experience is one where the person has self-selected to attend or participate in a program for "fun". The "learning" that occurs is viewed as fun as well.
Anyone that has a hobby, such as coin collecting, model making, studying aspects of history, bird watching, etc. We learn because we want to, and the process of learning and discovery gives us pleasure. I am often asked what, if any, are the differences between the three; information, environmental education, and interpretation.
Information presented to visitors is just that, straight facts, figures and dates.
A field guide to birds provides "information" about the bird species, but usually no interpretation. But all interpretation contains information. Interpretation is not what you say to visitors, but rather the way you say it to them.
Environmental Education either the formal education process, or the hopeful result of a program or exhibitcan be presented in either an informational "instructional" approach or using an interpretive approach.
Remember, interpretation is a communication process. If the process works in presenting and translating the information about the environment in a way that is meaningful for the audience, then environmental "education" occurs. I believe that true "education" occurs if the recipient of the communication: I have seen many formal environmental education programs where very little "education" occurred.
I have also seen teachers in formal classroom environmental education programs use "interpretive" techniques that left their students inspired, motivated, and excited about learning more. Interpretation is not topic or resource specific.
The interpretive communication process can be used for interpreting anything, any subject. If the interpretive communication is effective, then "education" can occur about that subject. Interpretation is a objective driven, and market audience focused process that looks for results the accomplishment of stated objectives.
It uses marketing and advertising techniques, journalism strategies, and a host of other material integrate communication strategies to form our Interpretive Communications Strategy.
Interpretation is also fun - a recreational learning experience. What is the Interpretive Communication Process? In planning the strategy as to how to provoke attention, the interpreter has to consider the answer to the question: Why would a visitor want to know this information?
The answer to that questions ends up being the graphic, photo, or statement that gets the audiences attention. Tilden says that we should reveal the ending or answer of the communication through a unique or unusual perspective of viewpoint.
Save the answer to last. The reveal tells the visitor why the message was important for them, or how they can benefit from the information that was interpreted to them. It means that when we plan or design our program, service, or media, that we use the right colors, costumes, music, designs, etc.
Think of message unity as the stage setting and props for a theatrical presentation. This final principles means that all interpretation should address some main point or theme - "the big picture" of what is important about the park, historic site, tourism site, etc.
The main theme is best illustrated by your answer to the question "if a visitor spends time going to programs, looking at exhibits, etc.
The answer to this question is "the whole.CABARET Background and Analysis by Scott Miller that only his morality is the right one, that all others are wrong. Extremism in any form is dangerous, and Cliff is perhaps even more an extremist than Ernst. We have to share Cliff’s disillusionment and sense of betrayal.
Among the messages of Cabaret is the idea that not all Nazi. A comprehensive comparative analysis of children’s television viewing habits in , and undertaken by the rating company OzTAM was released by the Australian Communications and Media Authority (ACMA) in Finally, the data did not support the alternative hypothesis, suggested by food industry proponents, that television viewing itself has no direct effect on unhealthy diet and that the relationship between television viewing and diet can be explained by a more permissive parenting style that allows children to watch less television and eat more unhealthy foods.
11 Political Communication in Action symbolic power of the media, the audience will generally retain a mini-mum of autonomy and independence, and engage more or less actively, instead of purely passively, in the useof the means of mass communi-. The positive and negative effects of social media in crises are currently receiving an increased amount of scholarly attention.
This study focuses on Twitter users in the context of a crisis in the Netherlands on January 29, context. Thus, there are no absolutely right or wrong answers, and the series does not set down new ‘policies’ or ‘rules’.
The authors hope that the readers of Adapting key immunization messages for the community 29 Communication channels: using radio, television, and printed (partnering with communities), is linked.